Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Colombia and from Houston.
But I was there.
I was there in 1977.
I was there at the first Zapp show in Hamilton.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1977.
I'm losing my edge.
To all the kids in London and Toronto.
I'm losing my edge to the art-school Madrid kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1976 at the first Feelies practice in a loft in Haledon.
I was working on the chamberlin sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Cramps to the dance kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Move. All the underground hits.
All Model 500 tracks. I heard you have a vinyl of every Echo & the Bunnymen record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a chamberlin and a spring reverb and are throwing your macbook out the window because you want to make something real. You want to make a Interpol record.
I hear that you and your band have sold your oboe and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought an oboe.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Derrick Morgan,
Pulsallama,
Magazine,
The Pop Group,
Danielle Patucci,
The Chocolate Watch Band,
The Martian,
Skriet,
R.M.O.,
Ultravox,
Roy Ayers,
David Axelrod,
Marine Girls,
The Techniques,
Althea and Donna,
Kerri Chandler,
Mad Mike,
Wally Richardson,
Howard Jones,
Nils Olav,
Symarip,
New York Dolls,
JFA,
Prince Buster,
Kings Of Tomorrow,
Grey Daturas,
Darondo,
Simply Red,
Scion,
Moss Icon,
Henry Cow,
The Buckinghams,
Adolescents,
The Slackers,
Marvin Gaye,
It's A Beautiful Day,
Sexual Harrassment,
Mary Jane Girls,
Brand Nubian,
Dead Boys,
Reagan Youth,
Eric B and Rakim,
T. Rex,
Bauhaus,
Alphaville,
Terrestrial Tones,
Brothers Johnson,
The Smoke,
Minnie Riperton,
Lonnie Liston Smith,
Duran Duran,
The Human League,
Jerry Gold Smith,
Essential Logic,
The Mojo Men,
Donny Hathaway,
Black Bananas,
Colin Newman,
Royal Trux,
Intrusion,
Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282, Thinking Fellers Union Local 282.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.